CANTICO ESPIRITUAL SAN JUAN DE LA CRUZ PDF

Academic journal article Romance Notes. Therefore, it should not surprise us that they have many thematic and structural similarities. Most importantly, they all signal a kind of purposeful "manifest destiny" of Spain as the culmination of Christian Empire by exhibiting grand, overarching designs that express moral and apocalyptic visions of Hapsburg rule as the final arrival of Christian peace on earth after centuries of human conflict. In this sense, they may be deemed idealistic, even apologetic compositions which pull up far short of the disillusionment of the baroque period to follow. Nevertheless, we should not mistake idealism for simplicity, for they are also anxious, self-consciously critical meditations on the possibly sinful nature of Spanish Empire at the peak of its expansion.

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Academic journal article Romance Notes. Therefore, it should not surprise us that they have many thematic and structural similarities. Most importantly, they all signal a kind of purposeful "manifest destiny" of Spain as the culmination of Christian Empire by exhibiting grand, overarching designs that express moral and apocalyptic visions of Hapsburg rule as the final arrival of Christian peace on earth after centuries of human conflict.

In this sense, they may be deemed idealistic, even apologetic compositions which pull up far short of the disillusionment of the baroque period to follow. Nevertheless, we should not mistake idealism for simplicity, for they are also anxious, self-consciously critical meditations on the possibly sinful nature of Spanish Empire at the peak of its expansion.

As such they are not without disorienting political implications for Philip II as well as the Spanish viewing or reading public. One way of approaching the problematic nature of these pieces is to consider the key roles played in each by certain malevolent intruders: the gaping hellmouth that threatens Philip II in El Greco's painting; the ominously diabolical Aminadab who lurks in the final stanza of San Juan's poem; and the disruptive devil that ruins the Numantian sacrificial ceremony in act two of Cervantes's play.

In this essay, I will review the ways in which the Alegoria de la Liga Santa, the Cantico espiritual, and La Numancia all allude to Christian Empire, centering their respective apocalyptic visions on Philip II; then I will consider the problematic perspectives that diabolical transgressors bring to each work. At first glance, El Greco's painting is perhaps the most straightforward here due to its overt representation of Christian Empire.

It portrays a fantastical meeting among the leaders of the Catholic alliance formed by Spain, Rome, and Venice, who were victorious over Turkish forces at the great naval battle of Lepanto in Blunt. In truth, the painting indicates the entire history of Catholic Empire: the principal kneeling figures, Philip II, the Pope, the Doge of Venice, and Don Juan of Austria, form a kind of Eucharistic communion beneath the initials IHS, representing the words In hoc signo vinces, a Latin translation of the phrase "by this sign you will conquer," which for its part alludes to the cross that the first Christian Emperor, Constantine the Great, claimed to have seen in the sky prior to his victory at the Battle of the Milvian Bridge in AD.

El Greco here mixes the historical allusion and political significance of Raphael and Romano's Vision of Constantine [fig. In this way the painting sets up an organic and moral universe that revolves around Philip II as the problematically militant agent of Christian Empire.

Significantly, he is the subject in the painting whose perspective does not allow him to perceive the diabolical threat behind him due to his steady focus on the black sword held by Don Juan of Austria. Allusions to the violence of empire are arguably more difficult to perceive in San Juan's great love poem. An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.

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San Juan de la Cruz, Cántico espiritual y poesía completa

View Larger Image. Ask Seller a Question. Publisher: Blass y Cia. Binding: Encuadernacion De Tapa Blanda. Illustrator: Decorado Por Angel Vivanco.

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In this section you can search all our contents throughout the different stages in the history of art in Spain, to find styles such as Baroque, Gothic, Mudejar and many, many more. In this section you can search among all our contents by topic to find the different resources available in Spain, such as museums, routes, destinations, monuments and many, many more. This section provides access to all the contents in a personalised way, according to your own particular interests and socio-demographic profile. Work by the mystic Saint John of the Cross on the union between the soul and God. Although it was written before , "The Spiritual Canticle" was not published until then, after the author, Saint John of the Cross, died, because his followers wanted to avoid him being associated with the mystical cult of the "Illuminated".

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